Podcasts about The Byrds

In this episode, Jock Bartley, founding member and guitarist of the legendary 1970s soft rock band Firefall, joins the show to discuss the band's storied career, including hits like "You Are the Woman" and "Just Remember I Love You." Bartley shares insights on Firefall's latest albums, Friends & Family and Friends & Family 2, which feature covers of classic songs by bands like Fleetwood Mac and The Byrds, reflecting their deep musical connections. Jock was a funny, laid back guy with tons of insight on the music industry to share.     In one of the craziest episodes to date, we dive deep into Mike's voices, a pretzel story, a game about the Burlew household, and Mike needing his dad, Big Wild Hank's help, only to be gifted rotten chicken.  Insane episode.  Have a listen!

In a book that rarely veers away from blank negativity and abject realism, the Teacher in Ecclesiastes gives readers yet another reality check:The fast don't always win the race nor are the strong guaranteed to prevail in battle. The wise don't always have enough to eat, the brilliant aren't always rich and everyone is subject to the vagaries of time and chance. We simply make the most of the cards we are dealt and find joy where we can.(It'll come as no surprise that Ecclesiastes is one of the least quoted Old Testament books in the New Testament.)

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

This week's show, after another Beach Boys belt: brand new Sloan, Black Watch, Jeffrey Runnings, Royal Blunder, Valery Trails, Deep Sea Diver, and Peter Baldrachi, plus The Byrds, Brian Wilson, Woody Herman, Immortals, Jan & Dean, Honeys, and Marty Rob...

"Turn up your radio and let me hear the songSwitch on your electric lightThen we can get down to what is really wrongTurn it up, turn it up, little bit higher radio"Terrific advice for the 1st Sunday of Summer and also your opportunity to show your support for The SoCal Sound and Super Sounds Of The 70's during our End Of Fiscal Year Pledge Drive. I'll be asking for your support this afternoon along with Batdorf and Rodney, The Band, Paul Simon, War, The Doors, Jay Ferguson, Art Garfunkel, Gino Vanelli, Led Zeppelin, Eric Clapton, Seals & Crofts, Steely Dan, America, The Byrds, Steve Miller Band, Bob Welch, Grand Funk Railroad, Gerry Rafferty, Jefferson Airplane, Fleetwood Mac, Sly & The Family Stone, Graham Nash, Deep Purple and Van Morrison...If you've been listening all these years please show your love with your donation that supports this terrific Radio Station. Please select Super Sounds Of The 70's upon checkout so I receive credit for your donation. We have a variety of Thank You Gifts for your generosity and support. Please call 818-677-3636 or go to www.thesocalsound.org

Tune in this week for crimes, misdemeanors and general lawlessness as we lean on a theme that explores music that explores one hundred years of crime in different form. We'll also ask law enforcement to step in as needed with pursuits, chain gangs, and K9 units. From Elmer Bernstein to The Crickets, Mel Tillis to The Byrds, and Bo Diddley, Red River Dave, and blues from Robert Wilkins as our show reminds listeners that Crime Doesn't Pay…unless you've already got the cheese or you're on the grift with the government behind you. Join our listening audience for the best roots radio show you'll find here in the North Bay. We'll make sure this week's show covers the theme with tracks and treasures, classic influences and much more. So, whether you're tuning in from a big city street or a quiet back road, settle in, turn it up, and let the stories music take you there. It's another week of Deeper Roots on KOWS Community Radio.

No episódio desta semana, mergulhamos na sonoridade inovadora de Mr. Tambourine Man, o álbum de estreia dos Byrds. Lançado em 21 de junho de 1965, este disco icônico não só apresentou ao mundo a fusão única de folk e rock da banda, mas também redefiniu o cenário musical da época e influenciou gerações. Nosso papo foi enriquecido com a presença do nosso amigo Daniel Rezende.See omnystudio.com/listener for privacy information.

Dan Sindel is truly a “unique” and “one of a kind” artist like no other out there in music land. Dan's songwriting features a multi-layered approach to recording guitars and vocals that integrates myriads of styles and genres into a hard rocking experience streamlined for mass appeal. Unpopular Music for Popular People Vol.1 is Dan's debut (5 song) EP and features the radio friendly tracks; STEPPING STONE, RULE THE WORLD and ALL DUE REPSECT as well as two “6 minute deep cut” tracks; EDGE OF ETERNITY and SAY GOODBYE which would satisfy anyone with a love for classic rock /progressive hard rock/heavy metal with their technical rhythmic changes, orchestrated guitars and solid vocal production.The Los Angeles based singer/songwriter/guitarist takes his musical upbringing of 60's and 70's pop songs and classic rock, 80's-90's metal and all things current and mixes up slightly atypical artists (think: Alice in Chains meet The Byrds or perhaps the aggression of Metallica infused with Blue Oyster Cult, The BEATLES or ELO) to create those unique melodies and harmonies. Dan says, “To me, the best parts of a song are the hooks and melodies, whether vocal or instrumental they have to catch the listener's ear and be extraordinarily memorable.”As a survivor of the legendary 80's LA Heavy Metal scene, Dan has shared the stage with some of the biggest names in the rock and metal music world (ACCEPT, SAXON, KING DIAMOND, RACER X, WENDY O. WILLIAMS, ARMORED SAINT, METAL CHURCH, FLOTSAM & JETSAM, GRIM REAPER, HED-PE, MUSHROOMHEAD and HELMET being but a few) but he'd rather not be looked at as “just a metal guy” as he refuses to be typecast and limited by musical genre.“Dan states: “It is the responsibility of a true artist to find his own voice and represent the thoughts and feelings that one has and to share it in a way that hopefully does not simply mirror someone else's work, to capture the spirit and intent of the artists vision is the essence of art itself.”Unpopular Music for Popular People Vol.1 is absolute proof that bringing influences from several different musical genres can co-exist in one finely tuned package and is available on all popular streaming platforms as well as his accompaniment videos on Youtube.APPLE MUSIC: https://music.apple.com/us/artist/dan-sindel/261257155SPOTIFY: https://open.spotify.com/artist/12JOM4gAm4nuaXD8GXLW3xAMAZON: https://www.amazon.com/music/player/artists/B0019DMEM4/dan-sindelYOUTUBE: https://www.youtube.com/@halipinoWWW: http://dansindel.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

John Hall has been CEO of the family-run Rickenbacker guitar company since 1984, right around when R.E.M.'s Peter Buck was inspiring a generation of jangly bands with his Rick riffs. The Beatles had led a Rickenbacker surge 20 years earlier as John Lennon and George Harrison played Ricks in A Hard Day's Night and prompted the Byrds' Roger McGuinn to get a 12-string Rickenbacker and basically to invent folk rock. Hall tells a hell of a story about meeting the Beatles and McGuinn, and he reflects on company's history, which dates back to 1931. He explains why Rickenbacker still makes all of its guitars at one California factory instead of expanding its production; discusses the company's fierce trademark protection; weighs distinctions among hollow-bodied, solid-bodied, 6-string and 12-string models; addresses whether pricey vintage Ricks are actually better than new ones; and, once and for all, clears up the pronunciation of “Rickenbacker.”

Text us about this show.Steve March-Tormé and Michael Murphy return to Into The Music to introduce you to the title character of their new album, Dalton Diamond. This is an album just over four decades in the making having originated in a West Los Angeles bedroom as the idea of Steve along with his friend, Craig Copeland. In the mid 1980s, nine of the album's were written by Steve and Craig and two additional songs that round out the narrative were written forty years later by Steve and Michael. The feel of the album harkens back to the 1970s southern California country rock of the Eagles, J.D. Souther, Jackson Browne, and The Flying Burrito Brothers to name a handful of Dalton's influences. This episode serves as a preview of the album and Steve and Michael throw in a live performance for good measure. Enjoy!"Only Passing Through" and "I'm In Love With You" performed by Steve March-Tormé & Michael Murphywritten by Steve March-Tormé and Craig Copeland℗ 2025 Living Room Records, LLC. Used with permission of Steve March-Tormé & Michael Murphy"Aurelia" and "Bullseye On The Run" performed by Steve March-Tormé & Michael Murphywritten by Steve March-Tormé and Michael Murphy℗ 2025 Living Room Records, LLC. Used with permission of Steve March-Tormé & Michael MurphyMelody Audiology LLCAudiology services for all. Specializing in music industry professionals and hearing conservation.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showVisit Into The Music at https://intothemusicpodcast.com!Support the show: https://www.buymeacoffee.com/intothemusic E-mail us at intothemusic@newprojectx.com YouTube Facebook Instagram INTO THE MUSIC is a production of Project X Productions.Host/producer: Rob MarnochaVoiceovers: Brad BordiniRecording, engineering, and post production: Rob MarnochaOpening theme: "Aerostar" by Los Straitjackets* (℗2013 Yep Roc Records)Closing theme: "Close to Champaign" by Los Straitjackets* (℗1999 Yep Roc Records)*Used with permission of Eddie Angel of Los StraitjacketsThis podcast copyright ©2025 by Project X Productions. All rights reserve...

It's Poe Time! Join us as we venture out into the daylight and visit “The Tomb of Ligeia”. A film in which Captain Peacock serves the tea, whilst Slartibartfast and Doctor Who's Nero have dinner; meanwhile Vincent Price auditions as frontman of The Byrds, and attempts to convince us that he could hurt a cat. The last of the Roger Corman / Edgar Allan Poe films finally sees the series move out of the studio for some beautiful location shooting in the English Countryside. A wonderfully distressed and melancholy Price is matched by two excellent performances from Elizabeth Shepherd as both feisty and romantic Rowena, and the foreboding, electrifying will of Ligeia. With support by an excellent cast of familiar British character actors, the film still ties in with the others in the series, with woozy dream (and dream-like) sequences, and the inevitable conflagration of the main setting. Watch (or re-watch) to avoid spoilers and join us.

Especial mensual dedicado a recordar singles que alcanzaron su puesto más alto en las listas de pop de EEUU en este mismo mes de hace 60 años.Playlist;(sintonía) BERT KAEMPFTER and HIS ORCHESTRA “Three o’clock in the morning” (top 33)THE SUPREMES “Back in my arms again” (top 1)THE FOUR TOPS “I Can't Help Myself (Sugar Pie Honey Bunch)” (top 1)THE BYRDS “Mr Tambourine man” (top 1)SAM THE SHAM and THE PHARAOHS “Wooly Bully” (top 2)TOM and JERRIO “Boo-ga-loo” (top 57)THE ANIMALS “Bring it all home to me” (top 32)FREDDIE and THE DREAMERS “Do the Freddie” (top 18)ESTHER PHILLIPS “And I love him” (top 54)THE BEAU BRUMMELS “Just a little” (top 8)BOBBY GOLDSBORO “Voodoo woman” (top 27)THE O’JAYS “Lipstick Traces (On A Cigarette)” (top 48)CHUCK JACKSON and MAXINE BROWN “Something you got” (top 55)FONTELLA BASS and BOBBY McCLURE “You'll Miss Me (When I'm Gone)” (top 91)GENE PITNEY “Last chance to turn around” (top 13)GENE CHANDLER “Nothing can stop me” (top 18)ROGER MILLER “Engine engine #9” (top 7)THE OVATIONS (featuring Louis Williams) “It’s wonderful to be in love” (top 61)THE RONETTES “Is this What I Get For Loving You?” (top 75)Escuchar audio

In this episode I welcomed Greg Yows to The Survival Podcast.  Greg is a great friend to both the show and me personally.  Together we wrote “The Revolution is You” our show theme. When asked about himself Greg says, “I am a simple songwriter. The hippies in the 60s had their “protest” bards in the form of Bob Dylan, The Byrds, Janice Joplin, John Lennon, Joan Baez…the list goes on. Now, I ain't claimin' to have their skill. But I have just as much passion for my cause. And that cause is making sure my kids enjoy freedom from the … Continue reading →

Hoy en La Gran Travesía viajamos hasta nuestra década fetiche, la de los años 60. En Radio Free Rock podréis escuchar a Creedence Clearwater Revival, Bob Dylan, Bobby Blue Bland, Ike and Tina Turner, Beatles, Rolling Stones, Sonny and Cher, Etta James, Mary Hopkins, Byrds... También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... con muchas sorpresas y voces conocidas... https://www.ivoox.com/gran-travesia-del-rock-capitulos-del-libro_bk_list_10998115_1.html Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs, en todostuslibros.com Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Gin1975, Alberto Velasco, Poncho C, Don T, Francisco Quintana, Gastón Nicora, Con,, Dotakon, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Poncho C, Nacho, Javito, Alberto, Pilar Escudero, Blas, Moy, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Flor, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Guillermo Gutierrez, Sementalex, Miguel Angel Torres, Suibne, Javifer, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.

No episódio de hoje, embarcamos em uma viagem pelas melodias cristalinas e guitarras cintilantes de Grand Prix, o aclamado álbum do Teenage Fanclub, lançado em 29 de maio de 1995. Considerado por muitos como o ponto alto da carreira da banda escocesa, esse disco é um verdadeiro tratado de power pop, combinando influências de Big Star, The Byrds e Neil Young com uma sensibilidade noventista única. Vamos explorar as faixas, as histórias por trás da produção e entender por que esse álbum continua sendo um tesouro cult para fãs de rock alternativo e guitarras bem trabalhadas.See omnystudio.com/listener for privacy information.

Send us a textOn this episode, we discuss Grievous Angel, the last album recorded by one of the most interesting, tragic, and influential people in modern music: Gram Parsons.   In just six short years, from 1967 until his death in the fall of 1973, Gram Parson help pioneer what would become known as country rock, or what he preferred to call  "Cosmic American Music." In those six years, he made several landmark albums with the International Submarine Band, the Byrds, and the Flying Burrito Brothers, as well recording two solo albums. None were commercially successful at the time of their release, but they cast a long shadow on the music of the later half of the 20th Century, and continue to do so today. Its difficult for modern listeners to understand how unique and innovative Parsons vision of blending elements of country, rock, folk, and (most importantly) soul was at the time because it has influenced so much that came after that its uniqueness gets lost crowd.For Grievous Angel, Parsons was able to get some of the best musicians in the business backing him. He also could recognize talent when he saw it and knew having Emmy Lou Harris as his duet partner would create magic, which it most certainly did. Released just months after Parsons untimely death, and containing some of his most beautiful, songs Grievous Angel is a remarkable and poignant album that chronicles Parsons influences and his devotion to traditional country music, while showcasing his ability to blend those influences with other genres into something entirely original.  Visit us at www.tappingvinyl.com.

I'm reading and talking about Ted Gioia's "Immersive Humanities Course," 52 weeks of World Classics.Reading a familiar text in a bigger reading list like this offers its own special challenges. I start with a little insight about what to do when that happens.I think the best way to talk about these very familiar books is to take them one at a time. Then I have some thoughts about translations (again) and reading in general. Genesis: This is a much longer book than you think! The story starts out very broad and then narrows to tell how God decides to work through a man named Abram. We then see how God continues to work through now-Abraham's family, through Isaac, Jacob and Joseph. None of these men are perfect, or even very heroic except possibly Joseph, but God uses them anyway. Genesis is different than the other very old texts (religious and otherwise) we've read in this schedule, and it's certainly quite different than the Greek philosophy. We see a God who is personal and emotional, capable of anger and also great love, and who is both all-powerful and yet interested in every individual in the entire world.Ecclesiastes: This is a poem of sorts, and you definitely know part of it because of the Byrds' “Turn Turn Turn.” The main character, the Preacher (likely King Solomon), reflects at the end of his days on “What's it all for?” He never settles on a real answer but reflects on how to live, so in its themes it is a lot more like Plato or Aristotle. It's not didactic like Confucius' Analects. It feels a lot more like the Dhammapada, but less fatalistic and actually lovelier in its construction. I think the weariness of Ecclesiastes speaks to the human condition, common across time and geography.Matthew: The first Gospel opens with Jesus' genealogy through Joseph, and I think Matthew's emphasis as he relates the story of Jesus' life is on the fact that the very people who should have been most willing to hear the message did not. Matthew is rooted in Jewish scripture, continually quoting prophets as he relates Jesus' ministry. The book starts with three chapters known as the Sermon on the Mount, which is harder to read straight through than I expected. It is a lot of sayings and aphorisms, not a lot of story, and you know by now how I feel about that. The book then moves into more narrative as the miracles increase in type and scope, leading to the crucifixion. The teachings from Jesus and Matthew's own writing are aimed squarely at the Jewish leaders here, pointing out what they are missing and their refusal to see Jesus for who he is.Mark: This is the shortest Gospel, and I also think of it as the “immediately” Gospel. Mark uses that word at almost every transition from one scene to another, and it makes the book feel very action-oriented. I felt like Mark was sitting with me saying, “Let me tell you what happened!”Luke: Luke is not an eyewitness at all, and even opens the book up saying he has talked to lots of people so he can get an accurate history put down. Luke's always been my favorite for a variety of reasons...John: But I was wrong. John is the single best piece of writing I have read so far in this program. It is amazing. The entire book is crafted beautifully, and it's now my favorite Gospel. Also, it has the very best ending you could hope for. Read it.Romans: Okay, full disclosure, my Bible study group is doing Romans this year, walking slowly through Paul's longest letter. Coming to Romans after the previous readings, I was absolutely struck by the vigor of Paul's writing. It's energetic, masculine, wide-ranging and urgent. It is deeply personal in a way that none of the previous readings were. I loved reading it in one big chunk and offer reflections on how...

Dan Sindel is truly a “unique” and “one of a kind” artist like no other out there in music land. Dan's songwriting features a multi-layered approach to recording guitars and vocals that integrates myriads of styles and genres into a hard rocking experience streamlined for mass appeal. Unpopular Music for Popular People Vol.1 is Dan's debut (5 song) EP and features the radio friendly tracks; STEPPING STONE, RULE THE WORLD and ALL DUE REPSECT as well as two “6 minute deep cut” tracks; EDGE OF ETERNITY and SAY GOODBYE which would satisfy anyone with a love for classic rock /progressive hard rock/heavy metal with their technical rhythmic changes, orchestrated guitars and solid vocal production.The Los Angeles based singer/songwriter/guitarist takes his musical upbringing of 60's and 70's pop songs and classic rock, 80's-90's metal and all things current and mixes up slightly atypical artists (think: Alice in Chains meet The Byrds or perhaps the aggression of Metallica infused with Blue Oyster Cult, The BEATLES or ELO) to create those unique melodies and harmonies. Dan says, “To me, the best parts of a song are the hooks and melodies, whether vocal or instrumental they have to catch the listener's ear and be extraordinarily memorable.”As a survivor of the legendary 80's LA Heavy Metal scene, Dan has shared the stage with some of the biggest names in the rock and metal music world (ACCEPT, SAXON, KING DIAMOND, RACER X, WENDY O. WILLIAMS, ARMORED SAINT, METAL CHURCH, FLOTSAM & JETSAM, GRIM REAPER, HED-PE, MUSHROOMHEAD and HELMET being but a few) but he'd rather not be looked at as “just a metal guy” as he refuses to be typecast and limited by musical genre.“Dan states: “It is the responsibility of a true artist to find his own voice and represent the thoughts and feelings that one has and to share it in a way that hopefully does not simply mirror someone else's work, to capture the spirit and intent of the artists vision is the essence of art itself.”Unpopular Music for Popular People Vol.1 is absolute proof that bringing influences from several different musical genres can co-exist in one finely tuned package and is available on all popular streaming platforms as well as his accompaniment videos on Youtube.APPLE MUSIC: https://music.apple.com/us/artist/dan-sindel/261257155SPOTIFY: https://open.spotify.com/artist/12JOM4gAm4nuaXD8GXLW3xAMAZON: https://www.amazon.com/music/player/artists/B0019DMEM4/dan-sindelYOUTUBE: https://www.youtube.com/@halipinoWWW: http://dansindel.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

"There's battle lines being drawnNobody's right if everybody's wrongYoung people speaking' their mindsGetting so much resistance from behindIt's time we stopHey, what's that sound?Everybody look - what's going down?"I know what that Sound is, please join me and I'll share it with you on this week's Whole 'Nuther Thing on KXFM 104.7. Joining us are Warren Zevon, XTC, T Bone Burnette, The Doors, Jean Luc Ponty, Van Morrison, Bob Dylan, Tears For Fears, Jeff Beck, Gordon Lightfoot, Janis Ian, The Byrds, Crosby Stills, Nash & Young, Fleetwood Mac, Eric Burdon & The Animals, Simon & Garfunkel, Joni Mitchell, Jefferson Airplane, Led Zeppelin, John Prine, Buffalo Springfield and others.

"Zen in Our Time" and "Connecting the Dots" are themes that I have hit upon for 2025, forming the thread running through (one meaning of "sutra") all of my DharmaByte newsletter columns and online UnMind podcasts this year. Contextualizing the teachings and legacy of Zen in modern times — without throwing the baby out with the bathwater — is key to transmitting Zen's legacy. Connecting the dots in the vast matrix of Dharma — while bridging the gap between 500 BC to 2025 CE in terms of the cultures, causes and conditions — is necessary to foster the evolution of Shakyamuni's Great Vow, from the closing verse of the Lotus Sutra's Lifespan Chapter: I am always thinking: by what means can I cause sentient beings to be able to enter the highest path and quickly attain the Dharma? As in so many aspects of our overloaded society, when contemplating the next column or podcast, the question always arises, "Where do I begin?" I turn to my collaborators — Hokai Jeff Harper, publisher of the newsletter, and Shinjin Larry Little, producer of the podcast — for clarity and inspiration. Jeff responded to my call for suggested topics with an intriguing trio: • To everything there is a season• The wax and wane of householder zazen practice• What we are feeling right now IS impermanence manifesting itself Instead of choosing one over the others, it occurred to me that all three are important. And they are interrelated, in a kind of fish-trap narrowing of focus, from the universal span of spacetime as a causal nexus for humankind; then homing in on the social level, considering the modern householder's vacillation in attempting to pursue what began long ago as a monastic lifestyle; and finally zeroing in on the personal: the intimacy of realization within the immediate flow of reality. I will attempt to treat them in succession over the next three installments, in the context of transmission of Zen's Original Mind. TO EVERYTHING THERE IS A SEASONIf you find the 1960s Pete Seeger song popularized by the Byrds running through your brain, you are not alone. If you recollect the poem from Ecclesiastes — which I studied in a unique, small-town high school literature course — you may be hearing echoes of: To every thing there is a season, and a time to every purpose under the heaven: A time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted; A time to kill, and a time to heal; a time to break down, and a time to build up; A time to weep, and a time to laugh; a time to mourn, and a time to dance; A time to cast away stones, and a time to gather stones together; a time to embrace, and a time to refrain from embracing; A time to get, and a time to lose; a time to keep, and a time to cast away; A time to rend, and a time to sew; a time to keep silence, and a time to speak; A time to love, and a time to hate; a time of war, and a time of peace. Or from Tozan Ryokai: Within causes and conditions, time and season, IT is serene and illuminating And finally, from Dogen Zenji: Firewood becomes ash and it does not become firewood again.Yet do not suppose that the ash is future and the firewood past. You should understand that firewood abides in the phenomenal expression of firewood, which fully includes past and future, and is independent of past and future. Ash abides in the phenomenal expression of ash, which fully includes future and past.
 Just as firewood does not become firewood again after it is ash, you do not return to birth after death... Birth is an expression complete this moment; death is an expression complete this moment. They are like winter and spring; you do not call winter the "beginning" of spring, nor summer the "end" of spring. There are many more such incisive and insightful references to time in the literature of Zen, as well as Western thinking, of course, most notably Master Dogen's fascicle titled "Uji," which translates as something like "Being-time," "Existence-time," or "Living time," as Uchiyama-roshi renders it. This 13th Century writing is said to have anticipated the theory of Relativity, Einsteins' prodigious accomplishment, perhaps the most important scientific breakthrough of the 20th Century. But these few recollections from the rich legacy of Zen's written record will suffice for our purposes of connecting some of the dots in Indra's Net, or the modern components of the "Matrix of the Thus-Come One" as described in the Surangama Sutra. Scanning the Biblical poem, it is striking to see so many various activities and reactions to the obligations and behaviors of daily human life listed in equally dispassionate terms, not implying false equivalencies, but for example to blithely assert that there is "a time to kill" and "a time to heal"; "a time of war" and "a time of peace" — in the same breath — is in itself breathtaking, considering the admonition against killing, or murder, found in the Ten Commandments as well as the first Five Grave Precepts of Buddhism. Jumping to Master Tozan, or Dongshan, the founder of Soto Zen in 9th Century China, we find a hint of some resolution of the "whole catastrophe" in his reference to "IT" being "serene and illuminating," regardless of time and season, causes and conditions. This "it" appears in various Buddhist sayings and teachings, as tathata in Sanskrit — the inexpressible; or inmo in Japanese — the ineffable, the essential. These all point to what I analogize as a "singularity of consciouness" that emerges in zazen, where we pass the event horizon of conventional perception — the mind collapsing inward of its own mass — returning to and revealing our Original Mind, merging subject and object, duality and nonduality, in mokurai — the resolution of all apparent dichotomies. Earlier in Tozan's Precious Mirror Samadhi, or Hokyo Zammai, from which the above quote is taken, he magnifies the central place of this "it" in the experiential realm of Zen realization: Although IT is not constructed, IT is not beyond wordsLike facing a precious mirror, form and reflection behold each otherYou are not IT but in truth IT is you Master Dogen's coinage of "the backward step" captures this 180-degree attitude adjustment in the way we usually approach learning, self-improvement, and general development as human beings on the learning curve of reality. "From the very beginning all beings are buddhas," as Hakuin Zenji, 18th Century Rinzai Zen master, poet and artist states in the first line of his famous poem, "Song of Zazen." For every thing there may be a season, but when it comes to the most important thing in Buddhism, there is fundamentally no change — from beginning to middle to end — of this "poor player," life, strutting and fretting his/her hour upon the stage. In another line from Chinese Zen, the third Ancestor in 6th Century China captures this succinctly: Change appearing to occur in the empty world we call realonly because of our ignorance. So, somehow, once again, we are getting it all wrong, backwards. Our recourse is, of course, to get our butts back to the cushion; trust the original mind; take the backward step; and embrace the revolutionary notion that WE are not IT, but in truth IT is US. I cannot resist the urge to close this segment with one of my favorite quotes from the great Master Pogo: We have met the enemy and he is us. It may be a comfort to realize that "mine enemy grows older" as we age. We just have to outlive our enemies, including our own ignorance. Next month we will take up the second suggestion, the waxing and waning of householder zazen practice. Been there, done that.

"In ev'ry day that passes us byI can't help the feelin' that you and IWe won't get to see another day together.Looks like bad weather.Yes it does,And I believe it's gonna rain"Yes a Rainy Spring Sunday in SoCal so please allow me to be your  musical umbrella, Joining us on this weeks Super Sounds Of The 70's are Dire Straits, David Bowie, Little Feat, Aerosmith, Bob Dylan, Neil Young, Mountain, Joe Walsh, Rod Stewart, The Byrds,, Flying Burrito Brothers, Procol Harum, The Doobie Brothers, Steely Dan, Jimi Hendrix, Stephen Stills, The Moody Blues, Alan Parsons Project, Supertramp, Derek & The Dominos and Poco.

"Strange days have found usStrange days have tracked us downThey're going to destroyOur casual joysWe shall go on playingOr find a new town"Let's escape the darkness together this afternoon on this week's Whole 'Nuther Thing on KXFM 104.7 Joining us are Tim Buckley, John Coltrane, Malo, Jimi Hendrix, Bob Dylan, The Byrds, Jefferson Airplane, The Youngbloods, Santana, The Tradewinds, Thunderclap Newman, Steppenwolf, Stan Getz w Astrud Gilberto, Lynyrd Skynyrd, Stevie Wonder, Phoebe Snow, Trevor Gordon Hall, Warren Zevon, 38 Special, Jose Feliciano and The Doors. I'll be showcasing a timely track from James Lee Stanley's latest CD "The Day Today during Hour 1.

If you've listened to Roots Music Rambler much at all you know Frank and Falls are suckers for the new wave of retro-sounding Americana and Country artists. (See our previous episode with Kimmi Bitter.) When we first heard Logan Ledger, the same fascination kicked in.  With sounds reminiscent of Marty Robbins, Jim Croce and The Byrds, it was easy to see why this Bay Area product was reclaiming the title of purveyor of California Country in early album reviews. His debut record in 2020 was produced by T. Bone Burnett. His sophomore effort, “Golden State,” was produced by none other than Shooter Jennings. And it's magnificent.  Ledger joined Roots Music Rambler this week to talk about his albums, his sound and how a long-time Nashville singer-songwriter found his way into the professional musician space by finding and amplifying his own style.  Falls shares his thoughts on a weird Jim Morrison documentary and he and Frank offer up their normal pickin' the grinnin' picks for the week as well. Download the episode and subscribe at rootsmusicrambler.com or wherever you get your podcasts.  Also be sure to help spread the love of the show with Roots Music Rambler's new merch, now available at rootsmusicrambler.com/store. Authentic t-shirts, hats and stickers are now available.  Buckle up for The Hoe-Down and the Throw-Down! It's a new episode of Roots Music Rambler. Notes and links:  Logan Ledger online Logan Ledger on Spotify Logan Ledger on Instagram Beyond the End documentary on AppleTV+ The Roots Music Rambler Store Roots Music Rambler on Instagram Roots Music Rambler on TikTok  Roots Music Rambler on Facebook Jason Falls on Instagram Francesca Folinazzo on Instagram Pickin' the Grinnin' Recommendations Humble Pie  First Aid Kit Subscribe to Roots Music Rambler on Spotify, Apple Podcasts, GoodPods or wherever you get your podcasts. Theme Music: Sheepskin & Beeswax by Genticorum; Audio production by Resonate Recordings. Copyright 2025 - Falls+Partners. Learn more about your ad choices. Visit megaphone.fm/adchoices

Find David at @iamdavidlynam

ReferencesActa Pharm Sin B. 2022 Dec;12(12):4390-4406Cell Death Discov . 2023 Dec 12;9:451.JBC 1997. Volume 272, Issue 36p22432-22437SeptemberCell Metab. 2012 Jun 6;15(6):813–826.Int J Mol Sci. 2022 May 26;23(11):5978Hayward, J. 1967. "The Afternoon " from: Days of future Passed lp.https://open.spotify.com/track/4uCFK6Lm1gA3MaIbSRhIfS?si=48ccbe6f079e469fMcQuinn, R. 1970. "Pale Blue" Byrds lp :Byrdmaniax.https://open.spotify.com/track/46D9uj48T6E8xlSKLv4cEU?si=495da777c73c4929Mozart, WA. 1788. Divertimento in E flat Major. K 563https://open.spotify.com/album/5yxpvtJJTlKUMtUtl9nBcm?si=zc_K0IlzRqOzVVatZs_Pkw

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 28ú lá de mí Aibreán, liomsa Lauren Ní Loingsigh. I 1978 tháinig an nuacht amach go mbeadh praghas de thí ag dul suas 20 fán gcéad an bhliain sin tar éis a chuala An Dáil gur chuaigh siad suas 20 fán gcéad an bhliain roimhe. I 1995 tháinig sé amach go raibh Prince Charles chun an bheannacht ríoga a thabhairt don phróiseas síochána nuair a bhí sé chun teacht chuig an tír sa samhradh. I 1978 rinne an fhoireann Chláir cosaint shibhialta léiriú iontach ag an chraobh in Inis. I 1989 d'oscail Mary O'Rourke Coláiste St Anne's ag Clarisford an tseachtain sin. Sin Take That le Back For Good – an t-amhrán is mó ar an lá seo I 1995. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1976 chan Bruce Springsteen agus The E Street Band ag an Grand Ole Opry I Nashville. Bhí sé seo an chéad uair ó 1968 a chan banna ceoil rac is roll ag an áit. I 1990 phós Axl Rose ó Guns N' Roses Erin Everly, iníon ó cheann de na Everly Brothers. Phós siad ag Cupid's Wedding Chapel Las Vegas. Scar siad I mí Eanáir an bhliain tar éis mar ní raibh an caidreamh go maith. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh amhránaí Melaine Martinez I Meiriceá I 1995 agus rugadh aisteoir Penélope Cruz sa Spáinn ar an lá seo I 1974 agus seo chuid de na rudaí a rinne sí. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 28th of April, with me Lauren Ní Loingsigh 1978: housing prices were due to rocket by another 20 per cent this year, after the dail had heard that prices already increased by an alarming 20 percent last year 1995: prince charles was to give the peace process britians royal seal of approval when he was due to visit ireland in the summer. 1978: Clare civil defence team put up a very creditable performace in the regional finals in ennis on sunday last. 1989: Education minister mary o rourke performed the offical opening of st annes community college at clarisford on monday. That was Take That with Back For Good – the biggest song on this day in 1995. Onto music news on this day In 1976 Bruce Springsteen and the E Street Band appeared at the Grand Ole Opry at the Opryland USA theme park in Nashville, the first time a rock band has played the Opry since The Byrds in 1968. 1990 Guns N' Roses leader Axl Rose married Erin Everly, daughter of The Everly Brothers Don at Cupid's Wedding Chapel in Las Vegas. They divorced in January 1991 after a stormy nine months of marriage. And finally celebrity birthdays on this day – singer Melanie Martinez was born in America in 1995 and actress Penélope Cruz was born in Spain on this day in 1974 and this is some of the stuff she has done. I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Today's program features tuneage from XTC, Tim Buckley, It's A Beautiful Day, Lovin' Spoonful, John Mayall, Crosby Stills & Nash, Spirit, Beatles, Small Faces, Youngbloods, Randy Newman, The Left Banke, Cyrkle, Zombies, Seatrain, Rascals, Jean Luc Ponty, Doors, Tears For Fears, Byrds, Led Zeppelin, Simon & Garfunkel, Judy Collins, Quicksilver Messenger Service .and Loggins && Messina

Episode 168 Chapter 28, Moog Analog Synthesizers, Part 1. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 1 from my book Electronic and Experimental music.   Playlist: EARLY MOOG RECORDINGS (BEFORE 1970)   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Emil Richards and the New Sound Element, “Sapphire (September)” from Stones (1967). Paul Beaver played Moog and Clavinet on this album by jazz-pop mallet player Richards, who also contributed some synthesizer sounds. 02:21 01:44 2.     Mort Garson, “Scorpio” (1967) from Zodiac Cosmic Sounds (1967). Mort Garson and Paul Beaver. Incorporated Moog sounds among it menagerie of instruments. Garson went on to produce many solo Moog projects. 02:53 04:04 3.     Hal Blaine, “Kaleidoscope (March)” from Psychedelic Percussion(1967). Hal Blaine and Paul Beaver. Beaver provided Moog and other electronic treatments for this jazzy percussion album by drummer Blaine. 02:20 06:58 4.     The Electric Flag, “Flash, Bam, Pow” from The Trip soundtrack (1967). Rock group The Electric Flag. Moog by Paul Beaver. 01:27 09:18 5.     The Byrds, “Space Odyssey” (1968) from The Notorious Byrd Brothers (1968).  Produced by Gary Usher who was acknowledged for having included the Moog on this rock album, with tracks such as, “Goin' Back” (played by Paul Beaver), “Natural Harmony,” and unreleased track “Moog Raga.” 03:47 10:48 6.     The Monkees, “Daily Nightly” from Pisces, Aquarius, Capricorn, and Jones Ltd. (1967). Moog effects provided by Micky Dolenz of the Monkees and Paul Beaver. 02:29 14:40 7.     Jean Jacques Perrey and Gershon Kingsley, “The Savers,” a single taken from Kaleidoscopic Vibrations (1967). The first Moog album by this duo known for their electro-pop songs. 01:48 17:08 8.     Wendy Carlos, “Chorale Prelude "Wachet Auf" from Switched-On Bach (1968). The most celebrated Moog album of all time and still the gold standard for Moog Modular performances. 03:34 18:54 9.     Mike Melvoin, “Born to be Wild” from The Plastic Cow Goes Moooooog (1969). Moog programming by Paul Beaver and Bernie Krause. 03:03 22:28 10.   Sagittarius, “Lend Me a Smile” from The Blue Marble (1969). This was a studio group headed by Gary Usher, producer of The Byrds, who used the Moog extensively on this rock album. 03:09 25:30 11.   The Zeet Band, “Moogie Woogie” from the album Moogie Woogie(1969). Electronic boogie and blues by an ensemble including Paul Beaver, Erwin Helfer, Mark Naftalin, “Fastfingers” Finkelstein, and Norman Dayron. 02:43 28:40   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

This week, we received our annual audit visit from corporate! That's right, The Chairman not only graced us with his presence, but he demanded we deliver to you this episode: “Grave Mistake: BÖC Shoulda Been Huge!!!”. One could argue that selling 24M albums would negate “Shoulda Been Huge” treatment. However, when most folks can only name 3 songs by this band, and one of them is due to an SNL skit, we think they fit the bill.This episode is rooted in our Should Have Been category; however, there is a strong case to be made that they've been largely forgotten as innovators and architects of what we know as heavy metal. We think they should be remembered as titans of hard rock and metal! Hope ya dig!Songs this week include:Blue Öyster Cult - “Transmaniacon MC” from Blue Öyster Cult(1972)Blue Öyster Cult - “The Red & The Black” from Tyranny And Mutation (1973)Blue Öyster Cult - “Flaming Telepaths” from Secret Treaties (1974)Blue Öyster Cult - “Tenderloin” from Agents Of Fortune (1976)Blue Öyster Cult - “R.U. Ready 2 Rock” from Spectres (1977)Blue Öyster Cult - “The Vigil” from Mirrors (1979)Blue Öyster Cult - “Monsters” from Cultosaurus Erectus (1980)Blue Öyster Cult - “Joan Crawford” from Fire Of Unknown Origin (1981)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

I was born ready and invite you to delve into the first of two parts featuring some of rock's most celebrated artists who had a penchant for the rich traditions of the corner stone of rock and roll music that leans to the country, including Tom Petty (who inspired this mini-series), Neil Young, Beatles and Stones, Dylan, The Band, The Byrds, and Led Zeppelin. It's as much as lesson as it is a celebration. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Episode 187: A Few Years Ago, Bob Dylan Sold An Estimated $300 Million Worth Of His Work April 15, 2025 He signed with Columbia in 1961 and the deal included around 600 pieces. More details in this episode, which includes Dylan himself and lots of great copies of his songs. The Byrds really favored Dylan's works and recorded around 18 of his songs. The Turtles did one. It's here on the original episode, #30. It's here too and so is the re-recorded and current program broadcast on air and in the apps. Hope you really enjoy the master's music. I want to say thank you to all the financial supporters of Tales Vinyl Tells. Whether a small amount monthly or a very generous donation, each of you listeners is very appreciated and if you can and do give monthly, my deepest gratitude goes to you. If you're not a patron yet and want to know more about becoming a patron of this music program you can go Patron.podbean.com/talesvinyltellssupport. Thank you and rock on! And thanks for listening today.  My email is talesvinyltells@gmail.com.  If you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, Apple podcasts, iHeart podcasts, Player FM podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime.

"You never give me your moneyYou only give me your funny paperAnd in the middle of negotiationsYou break down"This is only partially true, many of you do but we still need more to keep bringing you the Music you deserve. Please join me this afternoon as I seek your support for the SoCal Sound and Super Sounds Of The 70's. Joining us are  David Bowie, The Moody Blues, Free, Pink Floyd, Jeff Beck, Humble Pie, The Byrds, Robin  Trower, The Grateful Dead, Motels, Talking Heads, Ted Nugent & The Amboy Dukes, Roxy Music, Steve Miller Band, Emerson Lake & Palmer, Ten Years After, Fleetwood Mac, Savoy Brown, Traffic and The Beatles.

Stan Lynch is widely known as one of rock's most tasteful timekeepers, and a founding member of Tom Petty and the Heartbreakers. The Rock and Roll Hall of Fame drummer, singer-songwriter and producer has written songs for Don Henley, Ringo, Toto, The Byrds, Rita Coolidge, Meredith Brooks, Tim McGraw, Eagles, Sister Hazel, Eddie Money, The Mavericks, and The Knack. He's also played on and produced some of the most critically acclaimed and commercially successful records in the industry.

ReferencesCells. 2020 Feb 18;9(2):471.Mol Neurobiol. 2019. Volume 56. 5436–5455.Glia. 2023 Nov;71(11):2679-2695Goffin and King. 1966. "Goin' Back" Byrds 1967 coverhttps://music.youtube.com/watch?v=i849OKrpPms&si=Gjmsjp0rQpLbmwxCKing, C. 1971. "Tapestry" lphttps://music.youtube.com/watch?v=SyQ-TgA6bQk&si=7L23vJZolSbkZMR1Mozart, WA . 1782-85'. "The Six Haydn Quartets"https://music.youtube.com/watch?v=dzzOzaWia90&si=QfDkHMP8Kzz_mtpW

In 1970 Roger McGuinn and Jacques Levy were planning a musical, but it never came to be. Instead the songs they wrote got sprinkled throughout Byrds albums, and one became a single, the narrative-leaning "Chestnut Mare," backed with the classic Byrdsian melody of "Just a Season." In this deep dive—which explores the way the band influenced Television, The Meat Puppets, and even The Allman Brothers, John and Marc dig into this era of the Byrds, which produced the great half-live/half-studio album (Untitled). Drop the needle, it's time for The Spindle. When you're done, revisit the Spindle episode featuring Hüsker Dü's cover of “Eight Miles High”And check out Marc and John on The Byrds in a special Spindle Sidebar.Call us anytime at 1-877-WASTOIDS. More podcasts and videos at WASTOIDS.com | Follow us on Instagram and YouTube.

"Laughing on the busPlaying games with the facesShe said the man in the gabardine suitWas a spy, I said, "Be carefulHis bow tie is really a camera"Counting the cars on the New Jersey TurnpikeThey've all come To look for America"It's here, please join me this afternoon as we reveal it's existence through a wondrous thing we call music. Joining us on are journey are Red Hot Chili Peppers, Lou Reed, Radiohead. U2, The Hollies, Beatles, Byrds, Los Bravos, RE.M. Velvet Underground, Bob James, Steely Dan, Tom Petty & The Heartbreakers, Harry Chapin, Pat Metheny, The Wallflowers, The Mark-Almond Band, Patti Smith, The Grass Roots, Mamas & Papas and Simon & Garfunkel...

"There you stood on the edge of your feather, expecting to fly.While I laughed, I wondered whether I could wave goodbye,"As we waved goodbye to Winter, Spring and its promise of renewal arrived Thursday. Please join me on this first weekend of Spring on this week's Whole 'Nuther Thing. Joining us are Earth Opera, Warren Zevon, The Hooters, Tim Buckley, Dr. John, Nilsson, Little Feat, Cream, ZZ Top, Deodato, Orleans, The Beatles, Beach Boys, Led Zeppelin, The Byrds, Bob Dylan, Tears For Fears, Traffic, Deodato, Tom Petty, Simon & Garfunkel, Peter Paul & Mary, Graham Parker and Buffalo Springfield...

"Come down off your throne and leave your body aloneSomebody must changeYou are the reason I've been waiting so longSomebody holds the keyAnd I Can't Find My Way Home"No worries, I have a musical compass that will guide us this afternoon on "Super Sounds Of The 70's". Joining us are Carly Simon, Traffic, Dire Straits, Todd Rundgren, Humble Pie, T. Rex, The Byrds, Eagles, Doors, Faces, Bob Dylan, Savoy Brown, Steve Winwood, Little Feat, Led Zeppelin, Mountain, Frank Zappa, Tom  Petty & The Heartbreakers, The Marshall Tucker Band, Jeff Beck Group, Jethro Tull, Talking Heads, Rolling Stones and Blind Faith.

Antonio Zapatero, que dirigió el Hospital de Ifema en las primeras semanas de la pandemia y luego fue viceconsejero de Salud en Madrid, visita EPQSA. ¿Por qué el Gobierno no reaccionó antes? ¿Qué hubiera sucedido si se hubiera decretado el Estado de Alarma en los primeros días de marzo? Y luego, ¿fue necesario alargarlo tanto? Antonio Zapatero, que dirigió el Hospital de Ifema en las primeras semanas de la pandemia y luego fue viceconsejero de Salud en Madrid, visita EPQSA.Música Esta semana, el protagonista de nuestra selección musical es el grupo californiano The Byrds. Y estos son los temas que hemos escuchado: "Eight miles high" "Turn turn turn" "Mr Tambourine man" "You ain't goin' nowhere"

Unser heutiger Gast hat ohne Zweifel Musikgeschichte (und haufenweise ikonische Songs) geschrieben: Den von Bob Mould 1979 als Sänger und Gitarrist mitbegründeten Hüsker Dü gelang bis zu ihrer Auflösung 1988 das beeindruckende Kunststück, einerseits komplett einzigartig zu klingen und andererseits für (mindestens) ein ganzes Genre prägend zu sein. Ihre Mischung aus grandiosem Lärm, zu Herzen gehenden Melodien und nicht selten halsbrecherischer Geschwindigkeit definierte und transzendierte zugleich den US-amerikanischen Hardcore Punk. "Wie eine Mischung aus Black Flag und The Byrds", staunte einst ein euphorischer Dave Grohl; wohl wissend, dass ohne Hüsker Dü weder seine Foo Fighters, noch zuvor Nirvana, deren Vorbilder die Pixies oder überhaupt "Alternative Rock" an sich so geklungen hätten, wie wir es kennen. Doch genug der Vergangenheitsschau, wenngleich Bob Moulds Post-Hüsker-Band Sugar nicht unerwähnt bleiben darf, die in den Neunzigern zwei formidable Alben und diverse Singles veröffentlichte – und auch bei seinem neuesten Album ein gewisser "Zurück zu den Wurzeln"-Geist zu spüren ist. "Here We Go Crazy" heißt es, und ist das 15. unter eigenem Namen. Seine Solo-Karriere begann Mould rasch nach dem Ende von Hüsker Dü mit der 1989er "Workbook"-LP, deren überwiegend ruhig und akustisch gehaltener Sound im krassen Gegensatz zu dem der einstigen Band stand. Im Laufe der folgenden dreieinhalb Dekaden experimentierte der heute 64-Jährige unter anderem mit technoiden Beats und anderen elektronischen Methoden der Klangerzeugung, veröffentlichte aber immer wieder auch überzeugende Alben die auf sechs Saiten und seinem Melodietalent fußten. Dazu gehört auch das bereits erwähnte "Here We Go Crazy", das am morgigen Freitag erscheint und über das der Künstler sagt: "Ich habe das wieder freigelegt, was ich als junger Gitarrist so aufregend fand. Die Energie, die Elektrizität." Mehr erfahren wir von Bob Mould selbst im Interview, außerdem freuen wir uns natürlich darauf, dass er auch den ein oder anderen Song live auf der kleinen Bühne des studioeins spielen wird.

ReferencesJ of Neurochemistry. 2019. 151, Issue6 December: 676-688Journal of Neuroinflammation. 2020. volume 17,Article number: 15Guerra, DJ.2025. Nascent Lectures :Neuroimmune Diaventome.Nash,J.1972. "I Can See Clearly Now"https://open.spotify.com/track/30SCXVFyQGOFMdKnbgJS18?si=1ff0a57c16e94956Pinder, M. 1967 "Dawn is a Feeling" on DOFP(lp) Moody Blueshttps://open.spotify.com/track/5ukhn8xpLGRoPPMxbMuDOu?si=0ec04906ebd94bbcSeeger&Davies.1958."Bells of Rhymmy" Byrds https://open.spotify.com/track/1mpv6hIbfG75txI9zJGcf4?si=832538f153134d02Mozart. WA. 1791. Requiem Mass in D minor. K.626Performed by the Academy of St Martin of the Fields w/ Neville Mariner conductinghttps://open.spotify.com/album/2mAq4V9WfnKBIMmKGLS653?si=PJ3mysXATBSti1vfSPSP3A

Podcast #729 is for the cool kids thanks to Cheekface, The Tubs, Brad Marino, Rich Kids, Sorrows, Fullbloods, The Byrds, Pauline Murray and the Invisible Girls.

-The duo of DJ Morty Coyle & Wayne Federman return to talk about one of the more overlooked bands from the British Invasion era, The Byrds.   Long Description ***This show is brought to you by DistroKid. Go to http://distrokid.com/vip/the500 for 30% off your first year!*** This album is the most eclectic and experimental in the Byrds' catalog. The album's content ranged from folk and country music to psychedelic and electronic music.  DJ Morty Coyle & Wayne Federman go through the tracks with Josh and discuss the end of David Crosby's time with the band.  Follow Morty on Instagram: https://www.instagram.com/djmortycoyle https://www.instagram.com/alldaysucker/ Follow Wayne on Instagram: https://www.instagram.com/instafederman/ Follow Wayne on X: https://x.com/federman DistroKid Artist Of The Week: Cory Marks https://www.youtube.com/watch?v=ImeIxL2PyDo Follow Josh on Instagram: https://www.instagram.com/joshadammeyers/ Follow Josh on TikTok: https://www.tiktok.com/@joshadammeyers Follow Josh on Twitter: https://twitter.com/JoshAdamMeyers Follow Josh on Facebook: https://www.facebook.com/joshameyers Josh's Website: https://www.joshadammeyers.com/ Follow The 500 on Instagram: https://www.instagram.com/the500podcast/ Follow The 500 on Twitter: https://twitter.com/the500podcast Follow The 500 on Facebook: https://www.facebook.com/The500PodcastWithJAM/ Email the show: 500podcast@gmail.com Check the show's website: http://the500podcast.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Show #2353 Show Notes: Turn! Turn! Turn! – The Byrds https://www.youtube.com/watch?v=pKP4cfU28vM https://en.wikipedia.org/wiki/Turn!_Turn!_Turn! Ecclesiastes 3: https://www.biblegateway.com/passage/?search=Ecclesiastes%203&version=KJV Isaac Newton: https://en.wikipedia.org/wiki/Isaac_Newton Vatican Search: https://search.brave.com/search?q=when+was+the+vatican+built&source=desktop&summary=1&conversation=6094175d543b6a82668e6c The Worlds Fairs: https://www.facebook.com/reel/570542639225391 AI Destroying the Human Spirit: https://www.lewrockwell.com/political-theatre/whitney-webb-the-elites-are-using-ai-to-destroy-the-human-spirit/ Bye Bye […]

Lennon and McCartney eloquently recited an affirmation stating that In My Life I Loved Them All.The affection for certain artists and the melodic poetry they injected into our souls has remained in our wiring through the good, the bad and the uncertain times of our lives.One beloved gentleman we cherish was known as Arthur Alexander. Known as June to his closest companions, he was a one of a kind country-soul songwriter and singer. It can easily be said that he invented the genre.The fifth American studio album by  the Rolling Stones, released in December 1965, contained the Alexander classic "You Better Move On". From that moment on I was hooked on his intimate honesty and at times, the violent dillemas created within the stories he told.From "Anna" to "Rainbow Road" he took us into a world of hurt, light and truth."Anna" was first made familiar to us all through the Beatles cover version of this classic.On June 17, 1963, they performed the tune for the BBC radio show Pop Go the Beatles and was included on their Vee Jay LP Introducing The Beatles.In 1994, "Adios Amigo: A Tribute to Arthur Alexander" was released with industry legends engaging their versions of some of his classics.Roger McQuinn, the man whose voice elevated the Byrds to historic heights recorded "Anna" for the occasion.His reading of this tear stained composition is dealt a tender touch and inspires the notion that when the very best translate the very best, we are often rewarded beyond emotion.On that same tribute recording, another  unexpected performance is revealed.Robert Plant, known for his howling , screeching and a jet plane vocal roar illustrated in the metal blues ventures of Led Zeppelin offered up a remarkable surprise. Plant's ability to take Arthur's haunting chant' "If It Really Has To Be This Way" down a road of interrpretation few of us knew he could travel,  is a revelation which should inspire every singer to better worlds.Once again, proof of emotive genius is discovered when a vocalist of Plant's caliber is sworn to the oath of conveying the inner depth of the heart as written by a master of song craft.And so we enter this new realm of Double Trouble with the talent and awe of three pioneers of popular music.We double down on the voices of Robert and Roger as the giant shadow of Arthur Alexanderconducts a human orchestra of words, urges and the need to confess that which few are capable of expressing with such passionate poise.Robert remains with us at 82 and Roger at 76.Arthur Alexander boarded The Mystery Train on June 9, 1993 at 54.Ladies and gentleman. Welcome To Double Trouble.Rich Buckland

Direct from the Government Yard in Trenchtown where, over cornmeal porridge by a log wood fire, the events of the week are gently appraised, among them … … how Bob Marley, the Walker Brothers, the Byrds, Hendrix, Ramones, Blondie and Nirvana “got the dust of England on their boots”. … Chappell Roan's demands for “a living wage” in a business built on inequity. … why audio books surprise you in ways the print edition can't. … Beyonce? Best Country album? You sure? … “separate immediately”: Marsha Hunt and the secret of a successful marriage. … Bowie, Queen, the Velvet Underground: how the most streamed songs are rarely what you'd expect. … when London, New York and LA were the centres of the universe. … Bookends, Randy Newman's Good Old Boys and other albums with a narrative. … when the Police, Pistols and Clash tried to conquer America. … Miles Copeland Senior in Ben Macintyre's A Spy Among Friends. … “the film world is constructed around 100 actors, eight of whom are celebrated every year”. … plus birthday guest Keith Adsley turns the lights out for Pitchblack Playback – albums you should hear in the dark.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Direct from the Government Yard in Trenchtown where, over cornmeal porridge by a log wood fire, the events of the week are gently appraised, among them … … how Bob Marley, the Walker Brothers, the Byrds, Hendrix, Ramones, Blondie and Nirvana “got the dust of England on their boots”. … Chappell Roan's demands for “a living wage” in a business built on inequity. … why audio books surprise you in ways the print edition can't. … Beyonce? Best Country album? You sure? … “separate immediately”: Marsha Hunt and the secret of a successful marriage. … Bowie, Queen, the Velvet Underground: how the most streamed songs are rarely what you'd expect. … when London, New York and LA were the centres of the universe. … Bookends, Randy Newman's Good Old Boys and other albums with a narrative. … when the Police, Pistols and Clash tried to conquer America. … Miles Copeland Senior in Ben Macintyre's A Spy Among Friends. … “the film world is constructed around 100 actors, eight of whom are celebrated every year”. … plus birthday guest Keith Adsley turns the lights out for Pitchblack Playback – albums you should hear in the dark.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week, we are joined by Paisley Underground legend MATT PIUCCI (Rain Parade, Crazy Horse) to discuss the TODD HAYNES' documentary, THE VELVET UNDERGROUND. We also talk about Haynes' body of work including Velvet Goldmine & Safe, the perfect run of Velvet Underground records, Chris' emotional breakdown after seeing the film in the theater, Roky Music & The Doors, does a biopic need to be truthful, how being on stage is similar to Matt's forensic courtroom work (and would any member of The Velvets been good forensic scientists), the multiple screen and sound work within the film, how so much of art is because of chance encounters, how Andy Warhol's prescence allowed the Velvets to get through the gatekeepers of a label, honoring Warhol's visual identiy in the the film, the NYC underground filmmaking scene, how they edited this film, Lou Reed scrambling the narrative of his life, drones in music, Miles Davis, the mid 60s L.A. rock scene vs the NYC rock scene, seeing John Cale live, Chris hearing the first Velvet's record as a 7 year old & Matt seeing The Byrds live as a child, Mick Ronson & Transformer, Jeff Beck playing with Ziggy Stardust, how without Mo Tucker the Velvets were never the same, the Grateful Dead comparisons that confuses us, Can, Jonathan Richman's presence in the film, The Velvet's love of Neil Young, Matt talks about recording with Billy Talbot of Crazy Horse and smoking bowls with Neil Young, how Haynes' struggled making the film because of lack of archival footage of the band, John Cale's departure from the band and the pain of band lineup changes, Songs For Drella and the vilification of Doug Yule.So let's have The Velvet Underground hypnotize us once again on this episode of Revolutions Per Movie!!!MATT PIUCCI:@mattpiuccihttps://rainparade.bandcamp.comREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovie Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

In 1968, singer and songwriter Graham Nash joined David Crosby and Stephen Stills to form the supergroup Crosby, Stills & Nash. All of them had already been in successful bands: Graham Nash had been in The Hollies; David Crosby was in The Byrds; and Stephen Stills was in Buffalo Springfield. The next year, Neil Young joined them, to make Crosby, Stills, Nash & Young. The four of them released Deja Vu in 1970, and that album was a huge success. It sold over 8 million copies. It includes the song “Our House,” and for this episode, I spoke to Graham Nash about the making of that song, and the relationship that led to the song.For more, visit songexploder.net/crosby-stills-nash-and-young.